At Lasell College’s Wedeman Gallery, artist-curator Janet Kawada has created a show that embodies the artist’s quest for ideas. Says Kawada, “Like an archaeologist who sifts through the dirt seeking an image of history to bring to life, an artist is constantly looking intently at the world around them to portray their feeling or vision.” Each of the five women in the show (Hilary Tolan, Janet Kawada, Samantha Fields, Gail Erwin, and Deborah Klotz) work in widely varying media, from cyanotypes to performance art. The show seems at first visually dissimilar, but time spent with each piece reveals the way in which it embodies the act of exploration. Below, Samantha Fields’ performative installation which will be featured in Sunday’s opening (1-4PM).
So proud of the 100,000 women who marched on Boston Common yesterday. A truly historic event.
I read about this eye-opening exhibit on Hyperallergic, one of my favorite art sites, and realize there’s still time to see the NY exhibit. A standout for me is Kazuko Miyamoto’s “Star Piece” (above, 1979)…”a five-pointed star, nine feet in either direction, composed of tightly coiled brown industrial paper, lying on the floor like a spread-eagled body. I immediately, and inexplicably, thought of the death of Ana Mendieta, who, six years after the sculpture was made, fell from the 34th-floor window of her Mercer Street apartment, a half-mile away — a tragedy for which Mendieta’s husband, Carl Andre, was tried and acquitted.”
Zürcher Gallery, 33 Bleecker Street, Bowery, Manhattan through January 15, 2017
Claudia Olds Goldie’s figurative ceramic work investigates the complex contradictions of body, mind, and perception, examining how living and aging change the psyche and the physical body. Focusing on the lives and bodies of women, she examines nature’s design and the forces that inevitably alter it.
Jan. 1 – Feb. 5 Boston Sculptors Gallery
Maynard’s Fine Arts Theatre recently hosted a short run of the documentary “Eva Hesse” by Marcie Begleiter, a work as humane and complex as the sculptor herself. Hesse’s childhood and relationships with other artists, including Sol LeWitt, are touchingly brought into focus. Her enormous creative energy and prescient intellect will be new to many viewers, but it’s Hesse’s work that takes center stage. Haunting, gorgeous, personal, and raw, it has inspired two generations of sculptors since Hesse’s death and will influence many more. An appraisal of her oeuvre that is overdue and welcome, this is a must-see.
Sculptor Freedom Baird‘s decision to decorate trees was not undertaken lightly—but even as decoration, her sculpture illuminates the growth and life of trees. Blue on one side and mirrored on the other, her work does not blend but rather reflects, contrasts and compliments the growth of branches (above).
Pictured is her new piece at ArtSpace Maynard in Maynard, Massachusetts. Up through October 15th.
Free Public Lecture with Visiting Artist
Saturday, April 23, 2016
Location: Harvard Ed Portal, 224 Western Ave, Allston, MA 02134
Free and open to the public.
Join us for an evening lecture with internationally acclaimed sculptor Cristina Córdova. Córdova, who was recently named a 2015 United States Artists Fellow through the American Craft Council, will lead us into a deeper technical and intuitive understanding of achieving the human form in clay.
Seats are limited – RSVP for the lecture to Kathy King at email@example.com.
Harriet Hosmer, the 19th century’s premier American female sculptor, created many popular pieces, but everyone’s favorite was “Puck,” shown here at the Addison Gallery of American Art. Carved in flawless white marble by the artisans in Hosmer’s Rome Studio, Puck seems sedate by today’s standards, but he was a naughty Victorian indeed. His fetching wings are a bat’s, he sits on a group of poison toadstools, his chubby right fist grasps a beetle (to pelt an unsuspecting dryad?), and his upraised big toe can be seen as—what?
Puck—or “my son,” as Hosmer called him—was an instant success with the aristocracy, including Albert Edward, the Prince of Wales and the crown princess of Germany, who, upon seeing the work, remarked, “Oh, Miss Hosmer, you have such talent for toes!”